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Imagery in Carl Sandburg?s Poetry, 2002.
Looks at Carl Sandburg's more famous poems and his effective use of imagery.
993 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper examines the bluntness in the imagery of Carl Sandburg's poetry. Examples from several of Sandburg's poems are cited to demonstrate this stylistic technique. The paper also analyzes the messages Sandburg wished to convey in his poems through the use of imagery.
From the Paper
"Another excellent example of Sandburg?s use of imagery can be found in the poem ?Jaws.? In this poem, Sandburg provides us with a very unique vision of World War I, as well as voicing his anti-war views. In ?Jaws,? the poet paints a picture of seven nations with ?their hands on the jaws of death? (Van Doren 446, 1) who had a chance to avoid the war, but chose against it. This decision is depicted in a somewhat nonchalant manner: the seven nations spoken of disregard the importance of the decision they are making ?while I was listening, you were listening, the whole world was listening? and simply answer ?O Hell!? (11) and therefore start the clicking of the jaws of death. The imagery Sandburg invokes in this poem is one that mirrors his anti-war statement, as do many of his other poems, such as ?Killers? and ?Wars.? ?Killers? provides us with an image of ?sixteen million men? who were chosen because of the ?young warm blood in their wrists? and whose blood ?runs on the green grass; and a red juice soaks the soil? (Hendrick 104, 6, 11). Again, Sandburg is able to convey a message successfully, no matter how difficult it may be to accept."
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The Poetry of Carl Sandburg, 2004.
Discusses the life and poetry of Carl Sandburg.
1,354 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper looks at the life experiences of Carl Sandburg and how those experiences influenced his poetry. His use of rhythm, his type of sentence structure, and his free verse styling are also discussed. Verses from some of Sandburg's poems are cited to demonstrate his technique.
From the Paper
"When one considers the title of ?Poet? various ideas and images come to mind, usually including some sort of obscure, eccentric view which generally includes a mental image of someone who wanders about with their head in the clouds, scribbling verses on a small notebook. However, most poets are far from the stereotype. Seeking to convey powerful emotional truth in a minimum of words, a poet, like no other type of writer has the ability to instantly affect its reader, sometimes using fewer than ten words. That is power. And that power to move people, to speak of a truth that many did not know is at the heart of the poetry of Carl Sandburg."
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Robert Frost and Carl Sandburg, 2002.
A paper which shows the similarities and differences in style of poets Robert Frost and Carl Sandburg.
1,450 words (approx. 5.8 pages), 11 sources, MLA, $ 48.95
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Abstract
Robert Frost and Carl Sandburg are both important poets in their own right. Although they both grew up in the same era, their poetry styles have many differences. The paper firstly states their different origins, history and poetic style. Secondly, it analyzes a selected major work ? ?The Road Not Taken? and ?The Road and The End,? ? of Frost and Sandburg respectively. It is worth noticing that the chosen poetry of both poets contain many elements of similarity. This makes the chosen sample most suitable to distinguish the most minor, as well as the major differences in the poetic styles of the writers. Thus, in the paper, their lives and poetic styles are compared and contrasted using an example of their poetry.
From the Paper
"Unlike the individualized thinking of Frost, and the reflection of his viewpoints on life, Sandburg carries the spirit of the people in his writings. As was appreciated for being the voice of the Americans, Carl Sandburg emphasizes the voice of the nation in his writings. Unlike giving answers to one?s personal questions that arise within, Sandburg responds to the thoughts that live in every person?s life and mind. If Robert Frost can be said to be digging into his own experiences in his poetry, Sandburg can be called to be analyzing the experiences of his fellow countrymen, and responding to them with his poems, with him as a countrymen or the unified spirit of the nation, in most of them."
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Imagery in the Poetry of Robert Frost.
Comparison of two famous poems by Robert Frost, "The Road Not Taken" and "Stopping By Woods on a Snowy Evening".
1,051 words (approx. 4.2 pages), 0 sources, MLA, $ 36.95
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Abstract
This paper compares and contrasts Robert Frost's use of natural imagery, the themes, and the tone in two of his most famous poems, "The Road Not Taken" and "Stopping by Woods on a Snowy Evening".
From the Paper
"The outcome of the decision is different in these cases; however, it is difficult to determine what the actual outcome of the narrator?s decision is in ?Stopping by Woods on a Snowy Evening? because the poem is told in the present tense. However, the narrator does appreciate the woods for being ?lovely, dark, and deep,? and therefore would probably linger longer if he had more time (line 13). He is sensible, though, and makes his decision to leave without complaint. The author keeps his promises and has no reason to regret his action. On the other hand, the narrator of ?The Road Not Taken? does feel lingering regret at the outcome of his decision to take one path over the other. He realizes that ?way leads on to way,? and that he will never retrace his steps (line 14). Because he will never know what lie along the other path, a sense of curiosity and mild regret fills him. The speaker realizes that his choice has changed his fate and that one simple decision can alter the rest of his life."
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The Poetry of John Donne, 2007.
An analysis of John Donne's effective use of imagery and metaphor in his poetry.
1,321 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper discusses the poetic style of John Donne. The paper discusses the ways in which Donne ties his descriptions of emotions with scenery and describes the way in which many of his metaphors involve the human body. The paper looks at a few of his poems and discusses his use of imagery and language to portray the themes in his poems.
From the Paper
"Though these revelations are cruical, the meat of this poem lies in the last stanza. "Alas, hearts do not in eyes shine"(Donne 24). This line, in my opinion, is one of Donne's most powerful statements. It may seem obvious at first, but in this context, it acts as an alarm that wakes us up. Donne realizes that it is foolish to judge love's purity by comparing tears. He understands that a woman's tears are no better an indication of love than "her shadow, what she weares"(Donne 24). With this simple statement, Donne is explaining the true source of all of his pain: doubt. He can never truly know if his feelings for this woman are equal to her feelings for him. And this painful realization is tearing him apart. Doubt is the thread that connects "Twicknam Garden" to "A Valediction: of Weeping"."
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Romantic Poetry, 1973.
This paper discusses romantic poetry: Analysis of the use of imagery, based on the direct sensory experience of reality and a preference for knowledge derived from the senses. Examples by Wordsworth, Shelley, Byron, Keats and Blake.
4,050 words (approx. 16.2 pages), 5 sources, $ 135.95
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From the Paper
"The Romantic poetry of William Blake, John Keats, Percy Shelley, George Gordon and Lord Byron often utilized metaphors based on human sensory perception. In comparison to the metaphysical poetry of John Donne, in which mechanical objects were the bases for comparison, Romantic poetry relied much more heavily on the human body and its methods of perceiving the world around it. The Romantic school makes no apology for its own particular kind of metaphor; instead, it glories n it, feeling that a world full of dead objects can be brought to life by the superiority of knowledge derived from the senses. There are notable exceptions to this rule, of course, such as the statement by Keats that "Heard melodies are sweet / But those unheard are sweeter." But except in those instances when the metaphor of the senses gives way to the experiences of the imagination, the ... "
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Sandburg 'Killers', 2007.
This paper analyzes the poem "Killers" by Carl Sandburg.
904 words (approx. 3.6 pages), 1 source, MLA, $ 32.95
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Abstract
In this article, the writer notes that in the 21st century, a poem like Carl Sandburg's "Killers" needs to be re-read and placed into a historical context to be understood properly. The writer maintains that "Killers" seems like it could be a race-based poem, a poem about slavery. However, the writer maintains that the most likely identity of the sixteen million killers in Sandburg's poem is the victims of World War One. The writer notes that unlike many war-themed poems, "Killers" does not glorify combat or the motives behind fighting. The writer concludes that the imagery of slavery and imprisonment used in the first stanza continues to characterize war as a futile effort, initiated by men in positions of power with little concern for the well-being of their fellow citizens.
From the Paper
"Although Sandburg makes a point to disparage killing in itself, he admires the hardworking soldiers that fought for their country, preserving the rights and freedoms they believed in. A mixture of hardness and softness pervades Sandburg's poem."
"Sandburg's imagery corresponds with the poet's first stanza wordplay. The initial image of a man in handcuffs also hints at slavery, suggesting that Sandburg did not agree with military conscription. Millions of American men were drafted into military service when Congress declared war on Germany in 1917. It is possible that Sandburg was making a political statement with his poetry by using images of prisoners and slavery."
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Poetry in Elementary School Curricula, 2004.
This paper discusses ideas for the integration of poetry and the creative energy poetry can engender into non-poetic school learning environments.
2,115 words (approx. 8.5 pages), 5 sources, MLA, $ 66.95
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Abstract
This paper explains that poetry is a tool to stimulate creative problem solving, build an ability for creative expression, help a child develop literacy skills, and learn other subjects through the imaginative, resourceful use of poetry. The author points out that a 'persona poem' is a poem that is written in the first person; the writer imagines that he or she is an animal, a movie star, a politician, or anything or anyone he or she is not. The paper stresses that innovation and doing the unexpected are extremely important for elementary school teachers when coaxing students to love and use poetry throughout their curricula.
Table of Contents
Introduction
The American Poetry and Literacy Project
The Persona Poem
Using Persona Poetry in Social Studies, Music, Math, Science, and Art
Conclusion
From the Paper
"To move to another area of study, math; the student could write a persona poem pretending to be Albert Einstein?s pencil sharpener. Imagine all the work that sharpener must do ? since Einstein was said to go through a number of pencils each day during his mathematical research and formula writing ? and imagine all the grinding sounds and shavings, too. Or, alternatively, what would it be like to be the number ?1?? Would that be a grand feeling of winning (?number one? can mean the best, the first, the top choice), or would being ?number one? seem like a person had a long way to go to get to ?50??"
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"Chicago" by Sandburg, 2003.
An analysis of Carl Sandburg's poem, "Chicago".
812 words (approx. 3.2 pages), 0 sources, $ 28.95
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Abstract
This paper explores Carl Sandburg's use of literary tools in "Chicago" to emphasize the emotions of the poem. The use of diction to support the portrayal of Chicago as a city of laughter and pride is one of several aspects of the poem discussed in this paper.
From the Paper
"Throughout the poem, Sandburg makes use of diction to support the portrayal of Chicago as a city of laughter and pride. He also uses diction to describe Chicago's downfalls, which later seem trivial compared to the city's tremendous merits. In the line "Stormy, husky, brawling" the poet uses word that are generally used to describe large, sturdy men, making Chicago appear not only stable, but more human. This sturdy humanlike figure created by the poet's diction comforts the reader, making he or she feel as if Chicago is watching out for them. Next, the poet goes on to answer the questions of Chicago's critics, admitting faults where they exist."
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Emily Dickinson's Poetry, 2004.
Examines how American poet Emily Dickinson made use of imagery in her work.
1,456 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
Emily Dickinson is often thought of as "America's Poet" and during her short life, she created an enormous amount of poetry. One of the most important literary devices Dickinson used in her work was imagery, and she used it in a variety of unique ways to make her poetry more enduring, more meaningful, and extremely compelling. This paper discusses the use of many different forms of imagery in her poetry. It quotes from Dickinson's poetry to provide examples.
From the Paper
"However, circles are not the only imagery Dickinson employed in her works. Nature was a common theme for her poetry, and she used many diverse images of nature to convey her meanings and thoughts. Flowers form a large part of this natural imagery, and one expert notes there are over 400 references to flowers or their parts in her poetry (Eberwein 115-116). She used flower imagery as she used other imagery in her works, to denote a wide variety of themes, from God to bliss, women, and some even believe female genitalia. Poem 137 shows a bit of this erotic and sensual imagery conjured up by the daisies in the verse. "Flowers -- Well -- if anybody / Can the ecstasy define -- / Half a transport -- half a trouble -- / With which flowers humble men: / Anybody find the fountain / From which floods so contra flow -- / I will give him all the Daisies / Which upon the hillside blow" (Dickinson)."
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Metaphysical Poetry- Characteristics,Types and Major Poets, 2005.
A discussion of the origins and nature of metaphysical poetry.
2,728 words (approx. 10.9 pages), 5 sources, MLA, $ 81.95
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Abstract
This paper examines the origins of metaphysical poetry and its characteristics. Poetic terms are defined and the types of metaphysical poetry are discussed. The major poets of this genre are introduced. Although the paper considers metaphysical poetry in a positive light, criticism of the movement is also presented.
Introduction
Characteristics of metaphysical poetry
A.Delight in Novel Thought and Expression
B.Far-Fetched Images
C. Affectation and Hyperbole
D. Obscurity
E. Learning
Types of Metaphysical Poetry
A. Amorous Poetry
B. Religious Poetry
Sources of Metaphysical Poetry
Poets of the Metaphysical World
A. John Donne
B. George Halbert
C. Andrew Marvell
D. Henry Vaughn
VI. Conclusion
From the Paper
"Metaphysics or the branch of philosophy dealing with the nature of existence, truth and knowledge based on abstract reasoning, was first applied to poetry by Dr.Samuel Johnson. He borrowed it from Dryden's derogatory phrase about Donne-"He affects the metaphysics." Dryden criticized Donne for his excessive obscurity and Dr.Samuel Johnson later used the term 'metaphysical' to describe the specific poetic method used by poets like Donne."
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Nostalgia in Romantic Poetry, 1996.
An examination of the use of nostalgia in the poetry of the romantic era (1768 - 1839), focusing in particular on the poetry of William Wordsworth and Samuel Taylor Coleridge.
1,951 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper argues that nostalgia in poetry can be considered a particular kind of literary device, through which it is possible to gain some degree of insight into the whole ideology on which the romantic movement was based. Through an analysis of the poetry of William Wordsworth and Samuel Taylor Coleridge, it looks at how the romantics mourn the fleeting nature of time and look back to the golden age of childhood - which can only be recaptured through nostalgia. It shows how nostalgia allows the poets the opportunity to not only recapture the past, but to manipulate and control it and how the nostalgia displayed in romantic poetry is, then, a tool of the intellect and a calculated attempt to make sense of a confused world of impressions and feelings, to bring order where previously there was only chaos.
From the Paper
"Coleridge?s is an extreme model of nostalgia. Casting his mind back to childhood, he finds that the child he once was is also indulging in nostalgic thoughts of a still deeper past; the past he may have experienced even before birth, on a far different plane. This is the blissful, innocent world which becomes the ideal for all present existence, and the child who can still recall it, and imaginatively re-inhabit that world through nostalgia becomes, to the romantic mind, like a visionary without language or the proper means of expressing his recollection."
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Mental Imagery, 2007.
This paper explores the effects of mental imagery during the physical rehabilitation process.
3,024 words (approx. 12.1 pages), 9 sources, MLA, $ 88.95
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Abstract
The paper researches the extent that imagery enhances the rehabilitation process, as well as the mechanisms involved in the effectiveness of imagery as a supplement to treatment. The paper examines three underlying theoretical frameworks that form a basis for the understanding of the relationship between the use of mental imagery and rehabilitation: the psychoneuromuscular theory, the symbolic learning theory and the bioinformational theory. The paper also discusses imagery techniques that maximize the effectiveness of mental imagery. The paper concludes that mental imagery has the potential to play a beneficial role in the rehabilitative process with different populations, including injured athletes and stroke patients.
Outline:
Theoretical Frameworks
Measurement Issues Involved in Imagery and the Rehabilitation Process
Strategies for the Enhancement of Rehabilitation Using Mental Imagery
Concluding Comments
From the Paper
"Evidence has indicated that imagery improves rehabilitation. Newsom et al. (2003) investigated this phenomenon through the assessment of whether the use of mental imagery of gripping results in the prevention of loss of grip strength that is associated with forearm mobilization. Thirteen female and five male students between the ages of 17 and 30 were randomly assigned to two groups. Both the groups experienced immobilization of their non-dominate forearm for ten days. The control group received no intervention, while the treatment group underwent three short mental imagery sessions each day. The treatment group imagined that they were squeezing a rubber ball. After the ten days, there was no significant change in the wrist flexion or wrist extension among the treatment group that used mental imagery techniques. The control group, however, demonstrated a significant decrease in wrist mobility and strength during the immobilization period. These findings indicate that mental imagery has potential utility for the prevention of strength and mobility loss associated with short-term muscle immobilization."
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Langston Hughes' Poetry, 1972.
This paper discusses the poetry of African-American poet Langston Hughes including Sandburg's influence, folk dialect, naturalism and black experiences.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"Langston Hughes' poetry is meaningful to today's children. He speaks of the basic elements and emotions in life - love, hate, aspirations, despair; he writes in the language of today, and speaks of tomorrow.".
So says Lee Bennett Hopkins, editor of a volume of Hughes poetry. It is a near perfect summation of the pure simplicity of style and meaning which combine to give power to Hughes' work. Above anything else, Hughes' poetry and prose are dependent on his abstinence from a strained sort of symbolism. This would only detract from his intentions. When Hughes speaks of life, he reduces it to its most basic components. These components, as Hopkins noted, are clear to any reader. They rely on elements which are so common in human experience that they know no racial bars."
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Poetry in the 21st Century, 2004.
Explains the continuing relevance of poetry in our current era.
1,280 words (approx. 5.1 pages), 1 source, APA, $ 43.95
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Abstract
As the 21st century begins, poetry remains relevant to the lives of people in the Western world, an antidote to the popular culture of spectacle and instant gratification. Using the example of British poet, Jamie McKendrick, this paper argues that poetry remains relevant because it reflects what is universally felt and experienced by humanity. Poetry is irrelevant to popular culture, but not to the populace. McKendrick's poetry reflects life in a way that more spectacular entertainment cannot do. His poems invite the reader to reflect on great questions and to notice small details and beauties of the world. One of McKendrick's abilities is to express emotions in a way that the readers themselves could perhaps never manage. Poets are truth-speakers, and because their work truly reflects life, it is seldom straightforward. It is rare that a poem is fully appreciated after the first reading. Poetry demands engagement with the reader or listener; it cannot be passively watched like a Hollywood film. The reader must interact with the poem, and in the process, helps create the poem, since the meaning inferred by one reader may be different from that of another reader, and both may be different from the author's intended meaning. The paper concludes that poetry continues to be relevant because it expresses the human experience and does so with an uncommon intimacy and truthfulness.
From the Paper
"A poem will last for centuries if it skillfully explores the human experience because the essence of that experience does not change. Sappho and John Donne, for example, will always be relevant because people will always develop romantic infatuations. Alienation, longing, love, grief, the search for meaning, the discovery of the sublime in mundane life: These things will always be relevant. McKendrick can set his poems outside of time, as he does with "The Belen", or set a poem in Dante's Hell, because he writes about being human, not about being human in a particular century. In Ink Stone, he often writes of loss. The struggle of the intellect to understand death and the loneliness felt at the death of someone who understood one's dreams will resonate with readers in the next century as much as in this one because the act of grieving will not change."
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